share-handbook-for-artistic-research-education-high-definition

172 Contested Values and Critical DebatesInterventions: Position Papers and Dialoguestechnique’. For these choreographers, there is a kind of ‘raw material’in their own and/or their dancers’ somatic history, practised intuition,skilled habits and trained or untrained movement patterns. 108As a cumulative poetics, 109 this growing collection needs a contextin order to be acknowledged as a coherent body of ideas that hasvalue beyond the networks of cultural and academic productionwithin which signature artistic practices are recognised as artwork.Outside of these networks, dance normally lacks legitimacy in the grandscheme of what we consider to be knowledge in 21st century society,which tends to be associated with verbal language, ‘alphabeticism’, 110logic and rational thought. But there are movements in three areasthat may provide a reference space for the discourse emerging fromdance practice.The first movement is the development of artistic or practice-basedresearch that can be described as debate, traceable in Europeancontexts to developments in the early- to mid-1990s. This haslargely played itself out in the context of higher education, bothin the area of university-based humanities and in professionalschools of the arts. 111 The key issue is of placing artistic researchpractices – as different from artistic practices – on an equal footingwith other forms of academic research. This approach has beenembraced and opposed in various measures. Some argue thatartistic research practices engage in, and develop, an understandingof the world in culturally important ways and deserve the samestatus as other modes of engagement, with academic research agendasneeding to adapt accordingly. 112 Others argue that, while exchangesbetween arts and academic disciplines are to be encouraged, the108. The ‘publication of choreographic ideas’ described in this essay assumes choreographydance-movementto be fundamentally connected, while acknowledging the importance of criticaldevelopments from within the dance field of the past decade as scholars, makers and curators havequestioned assumptions and explored the implications of separating [choreography] from [dance]and [dance] from [movement].109. This is in reference to Laurence Louppe’s Poetics of Contemporary Dance, recently translated toEnglish by Sally Gardner (Alton: Dance Books, 2010). Louppe’s book was first published in 1994, callingfor a discourse that better addresses perceptions ‘awakened’ by dance.110. Brian Rotman posits ‘alphabeticism’ as an ‘entire logic of representation’ that has contributed toa rift between language and the body. In Becoming Beside Ourselves: The Alphabet, Ghosts and DistributedHuman Being (Durham and London: Duke University Press: 2008).111. For an overview and in-depth analysis of these developments, see Henk Borgdorff’s excellent book,The Conflict of the Faculties: Perspectives on Artistic Research and Academia. (Leiden University Press, 2012).112. Adaptation means, amongst other things, determining criteria for evaluating arts research. Foran overview of how institutions across Europe are working through such issues, the SHARE network isa useful place to start: http://www.sharenetwork.eu/